LP Review: Midnight Faces “The Fire Is Gone”

by Irene Lo

If it ain’t broke, don’t fix it is a sentiment that the L.A.-based duo Midnight Faces has apparently taken to heart in their sophomore follow-up to debut album Fornication that came out last year. The Fire Is Gone, out May 13^th, is the furthest thing from burning low with eight strong tracks that further perfects Midnight Faces’ penchant for dreamy pop that rests on resplendent riffs, sparkling synths, and emotional layering.

The creative chemistry that composer Matthew Doty and vocalist Philip Stancil have is a testament to the powerful energy that The Fire Is Gone possesses, even once you’ve figured out the formula. The secret recipe behind Midnight Faces sonic pull lies in the raw allure of Stancil’s somewhat unfocused, pixelated vocals, and the special afterglow of a euphoric guitar riff. It is spellbinding every single time. “Wake Me” begins as an innocent ballad that really begins to take off with the introduction of intensely soft bass chords. There is a fey presence in the air with the bare hint of a harp.

“Over Again”, the lead single, runs on a pulsing beat that builds to a keen chorus that nurtures the tender and bold voice Stancil carries to his advantage. The third song in, “Shadows” makes the New Wave comparisons Midnight Faces get hard to ignore with golden guitar play that walks a tight line between lightness and heaviness, while the percussion and synths do their best to bring all of its nervous beauty out into the open. A fondness for adding into the mix the sound of splashing crystals together (a common enough element that threads its way throughout the album) gives “Shadows” a DIY feel that sits well with the knowledge that Doty made The Fire Is Gone entirely off the computer in his apartment.

https://www.youtube.com/watch?v=XZODewtlKuE

“Now it’s all right, just hold tight. We may lose it all tonight…” are some of the welcome lyrics in “Hold Tight.” A charming pop song, “Hold Tight” is a reminder of how successful Midnight Faces are in mining the romanticism of abandon. The complementary use of guitar and synths that highlight each other so well reaches even higher heights in “This Time”. The idealistic spell that the listener falls for is a positive aching for spontaneous nights full of innocent hedonism and dream loves. “This Time” is one of Midnight Faces’ best songs to date.

“Give It Up” like “Animal” is not like the songs that came before it, missing the kickback flavour that the bass guitar gives. While “Give It Up” is a standard synth pop song that is not particularly exciting or unique, and could probably be found on a BIRP! playlist, “Animal” hits the sweet spot. “Animal” is one of those songs with simple lyrics like “I’m just an animal and I just can’t ever stop trying to get back to you…” that fit the melody it is paired to so profoundly that it takes on a powerful weight that goes beyond what is, in essence, a general thought and vague feeling.

A return to form, “The Fire Is Gone” reiterates again the layering of bass lines, far-reaching vocals, and shiny synths that Midnight Faces deliver so well.